STUDY GUIDE OCTOBER 2–25, 2014
THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY This guide compiled by Jennifer McKinnon for Royal MTC, September 2014.
Royal Manitoba Theatre Centre Presents
By Katie Forgette
Director – James MacDonald Set and Costume Design – Brian Perchaluk Lighting Design – Scott Henderson Sound Design – John Bent Jr. Fight Director – Jacqueline Loewen Dialect Coach – Shannon Vickers Stage Manager – Chris Pearce Assistant Stage Manager – Jessica Freundl Apprentice Director – Rachel Smith Design Apprentice – Darryl Audette Apprentice Stage Manager – Linsey Callaghan Apprentice Lighting Designer – Ksenia Broda Milian
THE CAST (IN ALPHABETICAL ORDER)
Mrs. Lillie Langtry – Sharon Bajer Mrs. McGlynn / Mrs. Irma Tory – Sarah Constible John Smythe / Abdul Karim – Aidan deSalaiz Professor Moriarty – Gil Garratt Sherlock Holmes – Jay Hindle Oscar Wilde – Ryan James Miller Dr. Watson – Carson Natrass
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THEATRE ETIQUETTE
“The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller
Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough time to find your seat before the performance starts.
Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which is very distracting for the performers and other audience members. The use of cameras and recording devices is strictly prohibited.
Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share your thoughts and opinions with others until after the performance.
Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission, concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby.
Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and thank all patrons for their cooperation.
Leaving During the Performance: If an audience member leaves the theatre during a performance, they will be readmitted at the discretion of our Front of House staff. Should they be readmitted, they will not be ushered back to their original seat, but placed in a vacant seat at the back of the auditorium.
Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of the audience to leave the performance if that person is being disruptive. Inappropriate and disruptive behaviour includes, but is not limited to: talking; using electronic devices, cameras, laser pointers, or other light- or sound-emitting devices; and/or deliberately interfering with an actor or the performance (tripping, throwing items on or near the stage, etc.).
Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback with members of the cast following the show. While watching the performance, make a mental note of questions to ask the actors. Questions can be about the story, the interpretation, life in the theatre, etc.
Enjoy the show: Laugh, applaud, cheer and respond to the performance appropriately. Make sure to thank all the artists for their hard work with applause during the curtain call.
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ABOUT THE AUTHOR
Playwright and actor Katie Forgette hails from Seattle, and lives with her husband and two cats. Other plays by Forgette include: The O’Connor Girls (2004), Cindy Rella (2007), A Facility for Living (formerly titled Assisted Living) (2013), and Everybody’s a Critic (2010).
The following excerpt comes from Adam Szymkowicz’s July 2014 interview with Katie Forgette:
Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.
A: As a kid, I was in love with old movies. I was particularly fond of prison movies. At about this time, my mother operated a daycare center out of our home. (This was in addition to taking care of her own 9 children and caring for her invalid mother who lived with us.) In the summer months I was her helper-- that is, whenever she could rouse me from sleep or a television coma. She would ask me to, "Do something with the children!" So, I'd round them up and take them into the backyard and cheerfully inform them, "We're going to play a game called Detention School--and I'm going to play the part of the Head Matron!" Among my brothers' many derelict British sport cars, I had the kids (ages 5 to 10) sit in two rows and I would inform them of their crimes--grand theft auto, armed bank robbery--and then tell them that they were to atone for their sins by being very quiet and, most importantly, obeying the rules. (The kids seemed quite taken with the idea that they were juvenile delinquents and had rap sheets.) As part of their punishment, I would read aloud from the Encyclopedia Britannica--with a pop quiz to follow. We would go on contemplative nature walks, their heads bowed and hands folded in front of them. All responses to my questions were to begin: "Salami, bologna, we love you with all our hearts!" And, of course, part of their rehabilitation was mandatory participation in the Detention School's theatre program. All plays having been written by--you got it--the Head Matron. Our productions were hindered by the fact that some of the actors had not yet learned to read.
Q: If you could change one thing about theater, what would it be?
A: Well, it would certainly be nice to see more produced plays written by women. But that's become such a worn-out lament, you know? The statistics just don't seem to be budging much. I heard an interesting comment from an artistic director at a children's theater once. She said, "Little girls will sit through stories about little boys; but little boys will not sit through stories about little girls."
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Q: What kind of theater excites you?
A: The kind of theater that makes me forget everything else. Arthur Miller said, "The job of the artist is to remind people of what they have chosen to forget.” But it's my feeling that the job of the artist is also to help people forget—temporarily—what haunts them.
Q: What advice do you have for playwrights just starting out?
A: Be careful not to seek too many opinions about your work. Two or three readers are plenty--choose wisely. Smart, theater-savvy folks--preferably people who read lots of plays. And even then, don't take any one comment too much to heart. It's all a crap shoot and nobody really knows anything for certain. One thing you can control is how much you write. The more plays you finish, the better you get. Once you've got a draft, take a break, maybe a few days or weeks, then re-read, re-write, re-peat. Be patient. As my mother used to say: "God's delays are not God's denials." Personally, I'm pinning my hopes on being discovered posthumously.
CONTEXTUAL BACKGROUND
The character of famed detective Sherlock Holmes was first created by Sir Arthur Conan Doyle in 1887, and appeared in four novels and five volumes of short stories over the next forty years. Now that copyright has expired, those works can be downloaded for free through Project Gutenberg (US).
Arthur Conan Doyle was born in Edinburgh, Scotland in 1856. His mother was well educated, and would often invent stories for her son, which may well have sparked his talent for writing. In his biography, Doyle is quoted as saying, “In my early childhood, as far as I can remember anything at all, the vivid stories she would tell me stand out so clearly that they obscure the real facts of my life.” His father, on the other hand, was an alcoholic with little education and few accomplishments.
Conan Doyle studied medicine at the University of Edinburgh, and there, according to some, found his inspiration for the character of Sherlock Holmes in his mentor Dr. Joseph Bell. Conan Doyle practiced medicine until finding success as a writer. He published several novels on spiritualism, but none saw the same success as his detective stories. He even killed off Sherlock in order to focus more on other projects, but later brought him back to life in The Adventure of the Empty House.
While never a distant memory, Sherlock Holmes has re-emerged in the public interest in several Hollywood films including Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011), as well as British and American television series: Sherlock (2010 – 2016); Elementary (2012 – 2014).
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Visit biography.com for a video of Sir Arthur Conan Doyle describing his mentor Dr. Bell as well as more information on the character of Sherlock Holmes.
http://www.biography.com/people/arthur-conan-doyle- 9278600/videos/sherlock-holmes-the-original-holmes-2080092977
CHARACTERS
Characters from the Holmes universe Mrs. Lillie Langtry: Known as the most beautiful woman of her time, she was the subject of Sherlock Holmes: This famed detective is several poems and paintings. She was also known for his amazing deductive reasoning rumoured to have had an affair with the Prince ability. His brutal honesty can sometimes hurt of Wales. him socially, however.
Dr. Watson: Sherlock’s right hand man. In this play, Watson is enamoured with Lillie Langtry, despite the fact that he’s engaged to be married.
Professor Moriarty: Holmes’ nemesis, known for his intelligence.
Lestrade: A police detective with Scotland Yard. Abdul Karim: Servant-turned-trusted advisor to He is only mentioned in the play; he does not Queen Victoria. Some were suspicious of their actually appear. close friendship.
Characters based on historical figures New characters
Oscar Wilde: Famous author and playwright. He Mrs. McGlynn: A cousin to Mrs. Hudson, the wrote the poem “The New Helen” (see landlady of Holmes’ residence on Baker Street. Appendix) about Lillie Langtry. Mrs. Irma Tory: Maid and servant to Lillie Langtry.
Kitty Dupree: Actress and forger.
John Smythe: Nephew to Kitty, and partner in crime.
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SETTING & PLOT
Set in 1890s London, the play brings together fictional and real-life characters in “The Case of the Jersey Lily”. Famed detective Sherlock Holmes and his sidekick Dr. John Watson are approached by playwright Oscar Wilde and a woman known as the most beautiful in the world, Lillie Langtry. Miss Langtry has had something of value stolen from her, and Holmes must not only find the culprit, but figure out what information Langtry is hiding.
Act 1 Scene 1 While sitting in her dressing room, Lillie Langtry is rendered unconscious and a bundle of letters is stolen.
Scene 2
Mrs. Lillie Langtry disguises herself, and sets out with her friend Oscar Wilde to test Sherlock Holmes’ famed deductive abilities. When he sees through her ruse, she hires Holmes and Watson to help recover her stolen letters. Holmes also learns that Langtry is being blackmailed for £10,000 in order to prevent the thief from revealing their contents. Holmes recalls a rumoured relationship between her and the Prince of Wales, and she admits the letters are between them. Holmes agrees to take the case, and instructs Lillie and Oscar not to change plans they had to meet at her home that evening to run lines for Wilde’s newest play, The Importance of Being Forthright.
Scene 3 Lillie and Oscar wait anxiously for Holmes, but another actress in the play, Mrs. Padgett, arrives before him. She engages Lillie’s maid, Mrs. Irma Tory, in conversation about her name and background before settling into rehearsal. A man then comes to the door to collect the ransom, though he is threatened by Mrs. Tory and questioned by Mrs. Padgett, who refuses to let him leave. A mêlée ensues, during which time the man produces a gun, and a signal is given to Watson (hiding just outside). Smoke pours into the house through an open window, and the man flees without the money. Mrs. Padgett then reveals
6 herself to be Sherlock Holmes, who accuses Lillie of lying; the ransom was something other than the £10,000. He’s correct; the man was truly after a necklace made from the Crown jewels. Holmes then shares that he received a visit from Her Majesty’s attendant, Mr. Abdul Karim, who informed him that the Prince of Wales has also received a blackmail demand. Lillie refuses to hand over the necklace, but Holmes assures Watson that, before long, that will change. Holmes also deduces that the criminal behind all of this is none other than Professor Moriarty, Holmes’ nemesis.
Scene 4
The scene opens with Moriarty upbraiding Smythe for failing to secure the ransom from Mrs. Langtry. It also becomes apparent that Mrs. Tory is working for the professor (her real name is Kitty), and that she is Smythe’s aunt. Moriarty has Kitty type a note to Holmes, threatening that if he doesn’t get into a waiting taxi, Langtry will be killed. When Moriarty leaves the room, Kitty and Smythe make a plan of their own to forge a letter, get ransom money from Lillie, and run.
Scene 5 Lillie is carried away by two men.
Act 2 Scene 1 Moriarty ensures that the room to which he is luring Holmes is ready: windows nailed shut, room caulked airtight, and a lever to release gas into the room that can’t be turned off. A blindfolded Lillie is then brought into the room, and forced to sit in a chair with her hands tied. Moriarty threatens to kill Holmes if she doesn’t reveal the location of the necklace, but she refuses. When Moriarty leaves the room, Kitty then sneaks into the room and reveals her true identity. She uses the forged letter in an attempt to convince Lillie to pay her, but Moriarty returns and catches her in the act.
Holmes and Oscar Wilde are then forced into the room. Moriarty has Smythe hold a gun to Holmes’ head, and then asks Lillie to tell him the location of the necklace. Holmes insists she say nothing, but she relents. Moriarty leaves to find the necklace, and indicates that if it is there, she, Holmes and Wilde will be released. If not, they will be killed. Once he is gone, Holmes and Wilde are able to sneakily untie
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Langtry. Holmes then knocks a lamp off of a table; the room goes dark, and Kitty throws a knife in what she mistakenly thinks is Holmes’ direction. When the lights come back on, she realizes her mistake. Holmes, Wilde, and Langtry are able to flee and lock Kitty and Smythe in the room.
Scene 2 Sherlock, Oscar, and Lillie recount their adventure to Watson. Kitty sneaks into the room and threatens the group with a revolver. She tells Lillie to bring her to the necklace, as she believes that Lillie lied to Moriarty. Watson – who has been smitten with Lillie from the beginning – attempts to save her by refusing to allow them out of the room, and Holmes insists he stay put. Kitty pulls the trigger, but nothing happens. Holmes reveals that she has mistakenly brought a prop gun from the theatre. Moriarty then appears, and Holmes challenges him to a sword fight. Moriarty feigns injury and rushes out of the room. Instead of chasing after him, Holmes decides to contact Lestrade at Scotland Yard.
Holmes then tells Lillie that he suspects she is still keeping something from him. Lillie admits that along with the missing letters is a photograph of her, the prince, and their illegitimate daughter. Moriarty hadn’t threatened to reveal the relationship to the press, but to tell the now 12-year-old girl that Lillie is not actually her aunt, but her mother.
Karim comes to the door, and Lillie and Watson hide in another room. Holmes tells Karim that he hasn’t been able to procure the necklace for him as he had promised. Karim becomes very angry and threatens to ruin Sherlock’s reputation. Upon hearing this, Lillie bursts into the room and hands over the necklace. Karim leaves, and there is soon another knock at the door. Holmes opens the door to find Lillie’s letters and photographs smouldering on the stoop. Next to them is a note from Moriarty assuring Sherlock that they will meet again.
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REFERENCES TO GREEK MYTHOLOGY & OTHER PLAYS
References to Greek mythology:
Act 1, Scene 2:
Watson: Did the Gods smite anyone with fog? Holmes: I believe Zeus blew some Jason’s way.
This is a reference to the Greek myth wherein Jason, Greek hero and leader of the Argonauts crew, encountered an incredibly dense fog during his quest to find the Golden Fleece.
Oscar: May I present: Helen, Formerly of Troy. Better known to the clamoring multitudes as – Holmes: -- Mrs. Lillie Langtry, or The Jersey Lily.
Helen of Troy was considered to be the most beautiful woman in the world. When she was taken from her husband Menelaus (ruler of Sparta) and given to Paris (prince of Troy) as a reward from the gods, Menelaus started the Trojan War to get her back. Oscar Wilde’s poem The New Helen was reportedly written about Lillie Langtry.
Holmes: While he possesses in abundance the skills of his craft, Mr. Wilde, like many brilliant men, has an Achilles heel.
Achilles was a Greek hero and warrior. When he was a child, his mother dipped him in the river Styx, and only the spot where she held him – his heel – remained mortal. He was killed in the Trojan War by a poisoned arrow aimed at that exact spot. The expression “Achilles heel” is now used to indicate a particular weakness.
Act 1, Scene 3:
Mrs. Padgett: She’s just a gorgon, isn’t she? I love her!
The gorgons were three demon sisters – one of whom was Medusa. They were said to have hair made of snakes and wings sprouting from their backs (or heads, depending on the version). Merely looking at a gorgon would turn a man to stone. In this case, Mrs. Padgett is referring to a character in Wilde’s play as a rude, perhaps vicious person.
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Selected references to plays and letters by Oscar Wilde:
Act 1, Scene2
Lillie: I don’t know that women are always rewarded for being charming. I think they are usually punished for it. (An Ideal Husband)
Oscar: The truth is rarely pure and never simple. (The Importance of Being Earnest)
Oscar: I like persons better than principles and I like persons with no principles better than anything else in the world. (The Picture of Dorian Gray)
Oscar: Forty is a very attractive age. London society is full of women of the very highest birth who have, of their own free choice, remained forty for years. (The Importance of Being Earnest, although in that play the age is 35)
Oscar: It is absurd to divide people into good and bad. People are either charming or tedious. (Lady Windermere’s Fan)
Lillie: I don't know that women are always rewarded for being charming. I think they are usually punished for it. (An Ideal Husband)
Act 1, Scene3
Mrs. Padgett: It is a divine name. It has a music of its own. It produced vibrations. (The Importance of Being Earnest)
Oscar: People who count their chickens before they are hatched act very wisely because chickens run about so absurdly that it's impossible to count them accurately. (Letter from Paris, 1900)
Act 2, Scene 2
Oscar: Faithfulness is to the emotional life what consistency is to the life of the intellect – simply a confession of failures. (The Picture of Dorian Gray)
Oscar: This place is busier than the cloakroom at Victoria Station. (Indirect reference to The Importance of Being Earnest)
Holmes: Because the good ended happily, and the bad unhappily and that is what fiction means. (The Importance of Being Earnest)
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References to plays by William Shakespeare:
Act 1, Scene2
Holmes: to gild refined gold is to paint the lily (King John)
Act 1, Scene3
Mrs. Tory: But screw your courage to the sticking place and we’ll not fail. (Macbeth)
Act 2, Scene 1
Lillie: One may smile, and smile, and be a villain. (Hamlet)
Act 2, Scene 2
Holmes: (Under his breath:) So shines a good deed in a naughty world. (Merchant of Venice)
Holmes: Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops –
Lillie: O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that they love prove likewise variable.
Holmes: What shall I swear by?
Lillie: Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I’ll believe thee. (Romeo and Juliet)
Holmes: Adieu, be happy. (Antony and Cleopatra)
Holmes: Enough. That way madness lies. (King Lear)
Holmes: Good night, sweet prince. (Hamlet)
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CLASSROOM ACTIVITIES
English Language Arts
Throughout the play, other playwrights are quoted. What other layers of meaning can we add to what the characters are saying by knowing some background about where those lines were originally spoken (or written)?
In Act 1 Oscar Wilde asks Sherlock Holmes to make a guess, and Holmes responds by saying “I never guess. It is a shocking habit – destructive to the logical faculty.” This is a direct quote from Arthur Conan Doyle’s book The Sign of the Four. Can you find any other Doyle references in the play?
Compare adaptations of the Holmes character: http://www.lessonplanet.com/teachers/lesson-plan- what-a-character-comparing-literary-adaptations
Explore short story structure and collaborative writing: http://sherlockholmesexhibition.com/wp- content/uploads/Outline-Cheap-Healthful-HS.pdf
Critically view source material, develop an argument, and write a persuasive essay: http://sherlockholmesexhibition.com/wp-content/uploads/Outline-Cheap-Healthful-HS.pdf
Study another Sherlock Holmes story, The Hound of the Baskervilles: http://www.beaconsociety.com/BeaconWinner2007.html
Science
Deductive reasoning or Inductive reasoning? Sherlock Holmes and the Scientific Method: http://www.pbs.org/program/sherlock-changed-world/
Sherlock as a forensic scientist: http://www.pbs.org/program/sherlock-changed-world/
History/Social Studies
The play references rumoured scandals in the British monarchy. Some regal antics are so outrageous that they are hard to believe - perhaps that is why the stories are irresistible. Research a royal scandal to learn more about the phenomenon.
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REFERENCES
“Arthur Conan Doyle.” Bio. A&E Television Networks. 2014. Web. 24 July 2014.
“Forgette, Katie.” WorldCat Identities. OCLC ResearchWorks. 2010. Web. 28 July 2014.
Leach, Ben. “The lost diary of Queen Victoria’s final companion.” The Telegraph. 26 Feb 2011. Thetelegraph.co.uk. Web. 24 July 2014.
“Oscar Wilde.” Poetry Foundation.2014. Web. 28 July 2014.
“Sherlock Holmes (1999).” IMDb. IMDb.com, Inc. 2009. Web. 24 July 2014.
“Sherlock Holmes: A Game of Shadows (2011).” IMDb. IMDb.com, Inc. 2011. Web. 24 July 2014. http://www.sherlockholmesonline.org/SherlockHolmes/ http://www.gutenberg.org/ebooks/search/?query=sherlock+holmes http://www.biography.com/people/arthur-conan-doyle-9278600 http://www.poetryfoundation.org/bio/oscar-wilde http://www.jerseyheritage.org/collection-items/lillie-langtry http://www.telegraph.co.uk/news/uknews/theroyalfamily/8349760/The-lost-diary-of-Queen-Victorias- final-companion.html
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APPENDICES http://www.bartleby.com/143/24.html
The New Helen by Oscar Wilde
WHERE hast thou been since round the Where never mower rose to greet the day walls of Troy But all unswathed the trammelling grasses The sons of God fought in that great grew, emprise? And the sad shepherd saw the tall corn stand 35 Why dost thou walk our common earth Till summer’s red had changed to withered again? gray? Hast thou forgotten that impassioned boy, Didst thou lie there by some Lethæan stream His purple galley, and his Tyrian men, 5 Deep brooding on thine ancient memory, And treacherous Aphrodite’s mocking eyes? The crash of broken spears, the fiery gleam For surely it was thou, who, like a star From shivered helm, the Grecian battle-cry. 40 Hung in the silver silence of the night, Nay, thou wert hidden in that hollow hill Didst lure the Old World’s chivalry and With one who is forgotten utterly, might That discrowned Queen men call the Into the clamorous crimson waves of war! 10 Erycine; Or didst thou rule the fire-laden moon? Hidden away that never mightst thou see In amorous Sidon was thy temple built The face of Her, before whose mouldering 45 Over the light and laughter of the sea? shrine Where, behind lattice scarlet-wrought and To-day at Rome the silent nations kneel; gilt, Who gat from Love no joyous gladdening, Some brown-limbed girl did weave thee 15 But only Love’s intolerable pain, tapestry, Only a sword to pierce her heart in twain, All through the waste and wearied hours of Only the bitterness of child-bearing. 50 noon; The lotos-leaves which heal the wounds of Till her wan cheek with flame of passion Death burned, Lie in thy hand; O, be thou kind to me, And she rose up the sea-washed lips to kiss While yet I know the summer of my days; Of some glad Cyprian sailor, safe returned For hardly can my tremulous lips draw From Calpé and the cliffs of Herakles! 20 breath No! thou art Helen, and none other one! To fill the silver trumpet with thy praise, 55 It was for thee that young Sarpedôn died, So bowed am I before thy mystery; And Memnôn’s manhood was untimely So bowed and broken on Love’s terrible spent; wheel, It was for thee gold-crested Hector tried That I have lost all hope and heart to sing, With Thetis’ child that evil race to run, 25 Yet care I not what ruin time may bring In the last year of thy beleaguerment; If in thy temple thou wilt let me kneel. 60 Ay! even now the glory of thy fame Alas, alas, thou wilt not tarry here, Burns in those fields of trampled asphodel, But, like that bird, the servant of the sun, Where the high lords whom Ilion knew so Who flies before the northwind and the well night, Clash ghostly shields, and call upon thy 30 So wilt thou fly our evil land and drear, name. Back to the tower of thine old delight, 65 Where hast thou been? in that enchanted And the red lips of young Euphorion; land Nor shall I ever see thy face again, Whose slumbering vales forlorn Calypso But in this poisonous garden must I stay, knew, Crowning my brows with the thorn-crown of
14 pain, home. Till all my loveless life shall pass away. 70 Thou shalt not die: no asps of Egypt creep O Helen! Helen! Helen! yet awhile, Close at thy heels to taint the delicate air; Yet for a little while, O, tarry here, No sullen-blooming poppies stain thy hair, Till the dawn cometh and the shadows flee! Those scarlet heralds of eternal sleep. 90 For in the gladsome sunlight of thy smile Lily of love, pure and inviolate! Of heaven or hell I have no thought or fear, 75 Tower of ivory! red rose of fire! Seeing I know no other god but thee: Thou hast come down our darkness to No other god save him, before whose feet illume: In nets of gold the tired planets move, For we, close-caught in the wide nets of The incarnate spirit of spiritual love Fate, Who in thy body holds his joyous seat. 80 Wearied with waiting for the World’s 95 Thou wert not born as common women are! Desire, But, girt with silver splendour of the foam, Aimlessly wandered in the house of gloom, Didst from the depths of sapphire seas arise! Aimlessly sought some slumberous anodyne And at thy coming some immortal star, For wasted lives, for lingering wretchedness, Bearded with flame, blazed in the Eastern 85 Till we beheld thy re-arisen shrine, skies, And the white glory of thy loveliness. 100 And waked the shepherds on thine island-
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